Using the principles of a candy-floss machine, The Polyfloss Factory, by Nick Paget, Emile De Visscher, Christophe Machet and Audrey Gaulard, transforms waste plastic into an easily-formable, colorful raw material. It is a playful way to deal with a serious problem while giving plastic products the chance of a second incarnation.

Time Shop by Livia Lima is a pop up art and design store where you buy objects with time rather than money. The installation raises “pertinent questions regarding the urgent redesign of our current economic system”.

Using the principles of a candy-floss machine, The Polyfloss Factory, by Nick Paget, Emile De Visscher, Christophe Machet and Audrey Gaulard, transforms waste plastic into an easily-formable, colorful raw material. It is a playful way to deal with a serious problem while giving plastic products the chance of a second incarnation.

‘In From Here For Here’ by Ariane Prin proposes a production system that treats the Royal College of Art as an experimental site for using on-site waste as a raw material in local production; in this case pencils for students.

Markus Kayser has created Solar Sinter to explore the potential of desert manufacturing as response to questions about energy production and raw material shortages. Sunlight and sand are used as raw energy and material to produce glass objects using a high-tech 3D printing process.

Gaspard Tiné-Berèshas designed Lasso; slippers that are constructed from a single piece of natural wool felt, die-cut with minimal, simple and affordable tooling. The slippers are delivered flat-packed for assembly by the user who “sews” the seams with the standard laces supplied in a color of their choice.

The 1.3 Chair by Ki-Hyun Kim was inspired by the British wooden bomber aeroplane, the De Havilland DH 98 Mosquito, and is constructed from compressed balsa wood, lime wood and hardwood veneer. Balsa wood is a fast-growing, underused and sustainable source of wood.

Geodesic by Daniel Swann is a reaction to finite and increasingly expensive resources, where local production is becoming the norm. It responds to our desire for smaller and more lightweight structures, using a common everyday material, paper.

Last but not least is the Sea Chair by Alexander Groves, Azusa Murakami and Kieren Jones. The chair is made entirely from marine microplastic recovered from the ocean. It follows the discovery of The Pacific Garbage Patch and five more across the world’s oceans. With the help of the UK’s fishing community, the Sea Chair Project explores the possibility of a sea-harvested plastic industry.